Netflix Film Review: “Fatal Deceit” a.k.a. “Gaslit” (2019)

read the 150 word review of Fatal Deceit Gaslit here

… like something from Garth Merenghi’s Dark Place …

Olivia’s (Zoe McLellan) world is turned upside down when, following the death of her estranged husband in a car accident, her teenage daughter goes missing while on a camping trip with the neighbours. But when her neighbours deny taking her on the trip, or even having met or seen any “daughter” in Zoe’s house, ever, Zoe’s whole world, and mind, rapidly unravel. Has someone taken her daughter? Does she even have a daughter?

Fatal Deceit a.k.a. Gaslit (2019) is nothing new. The whole have-they-taken-her-kid-or-does-she-even-have-a-kid thing has been done many times before. None-the-less, the basic storyline was entertaining and capably written by Writer-Director Colin Edward Lawrence and co-writer Erin Murphy West. One of the key plot points was, however, clumsily and blatantly telegraphed quite early on, consequently much of the suspense which was otherwise rather well developed was slightly deflated. And the general release title, Gaslit, has to be the biggest spoiler-title since “Return of the King”.

The direction was — interesting. Some of it was unusual but worked, other shots were like something from Garth Merenghi’s Dark Place: a bizarre, TV movie parody, almost. But the hit and miles wide direction was nothing compared to the acting.

Zoe McLellan is a decent television actor. She seems to know what her range is, and she works to push her abilities. Yet despite being an admirable second-rate TV / small screen actor, she was made to look like an Oscar contender such was the truly abysmal work from her castmates. Daughter Hannah (Stevie Lynn Jones) gave an early and shockingly bad turn which actually caused me to turn the movie off. I took a breather, had a think, and plowed back on. But it was that shocking. The rest of the cast do no better: husband Layne, Matthew Pohlkamp, the neighbour Mary, Stephanie Charles, the friend Bruce, Chris Dougherty: all were poor. Only supporting character Jack, Mike Erwin, gave a half-decent go. It’s no exaggeration to say that Zoe McLellan might wish to use this movie as her new demo reel such is the gulf between her performance and that of her castmates: an average turn/performance has been made to seem quite impressive, just as eggy bread looks like haute cuisine next to a dog’s dinner.

This movie is basically trash. A TV movie for the insomniac. But it’s trash with some redeeming features.

2/5

© 2021-2022 Bryan A. J. Parry

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Netflix 150 Word Film Review: “Fatal Deceit” a.k.a. “Gaslit” (2019)

Flightplan in the ‘burbs.

Olivia’s (Zoe McLellan) world is turned upside down when her teenage daughter Hannah goes missing just weeks after the death of her estranged husband in a car accident. But when people deny having seen Hannah, ever, Olivia’s whole world rapidly unravels. Has someone taken Hannah, or did Olivia’s sick mind make her up in the first place?

Fatal Deceit a.k.a. Gaslit (2019) is nothing new. It’s Flightplan in the ‘burbs. None-the-less, the basic storyline was entertaining and capably written. Sadly, a key plot twist was clumsily and blatantly telegraphed early on, a real suspense-killer. And Gaslit itself has to be the biggest spoiler-title since “Return of the King”.

The direction was unusual, often ridiculous, but always sublime compared to the acting.

Zoe McLellan’s a decent television actor. She did well. But her co-stars’ performances were so uniformly awful that it made McLellan look like an Oscar contender.

A trashy TV movie for the insomniac — but with redeeming features.

2/5

© 2021-2022 Bryan A. J. Parry

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Film Review “The Nameless” a.k.a. “Los Sin Nombre” (1999) #NetflixReview #FilmReview #150WordReview

… still worth a watch.

review originally published on www.moviereviewsblog.com

Several years after a six year old girl is brutally murdered, her mother receives a mysterious phone call from a woman claiming to be none other than her daughter. With the help of a retired policeman and a journalist, our mother struggles to find the truth in the face of grave danger from a mysterious force.

Los Sin Nombre, based on Ramsey Campbell’s 1981 novel The Nameless, is a disturbing psychological thriller horror mystery. It’s dark, broody and grimy. It’s not clear until much later on in the film what actually is going on with her daughter and who this mysterious caller is. When the reveal comes, it’s a bit of a let-down as the back story isn’t fully worked out on screen. None-the-less, the first two thirds of the film make this still worth a watch.

A notable and praise-worthy film with a disappointing ending that hobbles it.

3/5

© 2021-2022 Bryan A. J. Parry

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Film Review “Mother!” #NetflixReview @MotherMovie @DarrenAronofsky

I couldn’t take my eyes off it. Sadly, I don’t ever want to set my eyes on it again.

Mother! stars Jennifer Lawrence as “Mother”, a devoted wife to emotionally damaged artist “Him” (Javier Bardem) who is suffering a debilitating bout of writer’s block. She single-handedly rebuilds his childhood home, which had mysteriously burnt down, in the hope that this idyll in the middle of nowhere will reignite his creative, and perhaps even sexual, passions. However, this paradise-in-the-making is disturbed as a series of unexpected random visitors pay them a visit from out of nowhere, to catastrophic results. Weird, unique, challenging: director Darren Aronofsky is back.

The acting from Lawrence, Bardem, and Michael Pfeiffer is topnotch, perhaps even Oscar-worthy. Ed Harris is pretty special in this, too. They really are on top of their game here. The set up and first third of the film is wonderful, classic almost Twilight Zone mystery territory: who are these people, what do they really want, and why is everyone — including her husband — acting so off? The film is both a pensive slow-mover and at the same time a rocket-charged rollercoaster. I couldn’t take my eyes off it.

Sadly, I don’t ever want to set my eyes on it again. The film totally goes off its rocker after an unfortunate incident occurs in the house. The imagery and the acting and set design were magnificent and brutal. I couldn’t believe what I was seeing. None-the-less, any pretence of story is launched through the window (or the wall) with all the ferocity of Yuriy Sedykh’s hammer throw at the 1986 European Championships. It makes no sense, nor does it want to. Aronofsky is a challenging but brilliant filmmaker (Black SwanRequiem for a DreamPi), but this film just eats itself in pretension (you already noticed the “names” of our two protagonists, didn’t you? “Mother” and “Him”). Both totally open-ended and easy to interpret any way you want — as per our writer’s own work (ooooh meta) — and yet incredibly straight-forward, this movie doesn’t so much think it’s cleverer than it is, but rather it doesn’t give a flying f***. Frankly, it’s bonkers, but in a way that makes no sense (in contrast to Aronofsky’s previous works).

As I have said, this movie has genuine Oscar contender vibes. So why only two stars? Because story has to come first, that’s why; a movie that tosses story out of the window to go down some kind of nightmarish drug trip which makes no sense at all, cannot have a “good” rating no matter how undoubtedly brilliant aspects of the film are. The last section of the film began to genuinely test my patience with its out-and-out nonsense. Being a visionary director who has succeeded in getting first rate performances out of his team is not an excuse for self-wallowy rubbish.

2/5

© 2021-2022 Bryan A. J. Parry

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Film Review “Hypnotic” (2021) #NetflixReview #100WordReview

entertaining bit of brain bubblegum

A young woman overcoming a broken relationship begins seeing a renowned psychotherapist. However, when he cracks open a can of hypnotism in their intense sessions, things go dangerously off the rails.

The publicity photos and tag line (“His wish is her command”) essentially give away the story. However, the moment we lay eyes upon our hypnotherapist, we know what’s going to happen; his motives are transparent, his sliminess obvious.

This is an entertaining and capably acted flick. It’s no classic, though. A nice light entertaining bit of brain bubblegum.

3/5

© 2022 Bryan A. J. Parry

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Film Review “Below Zero” a.k.a. “Bajocero” (2021) #NetflixReview #100WordReview

[we’re] parts of an essentially uncaring machine.

Prison Officer Martin (Javier Gutierrez) is driving across country to deliver a batch of prisoners to another facility when, suddenly, him and his partner Montesinos (Isak Ferriz) find themselves under attack by an unknown assailant (Karra Elejalde). Face almost certain death by leaving their armoured vehicle, or remain locked inside as the inmates threaten to riot?

Below Zero is an action-packed crime story that keeps you on the edge of your seat. The ending, particularly the last moment where we see Martin look at his locker, brings home how everyone involved — officers and prisoners — are just parts of an essentially uncaring machine.

4/5

© 2021-2022 Bryan A. J. Parry

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Netflix Review “The Guilty” (2021) #200WordReview #TheGuilty #NetflixReview

you’ll need to follow this movie up with something suitably light, such as four straight hours of back-to-back Blue’s Clues and You, just to take the edge off it.

Jake Gyllenhaal is a burnt-out cop, Joe Baylor, who’s been demoted to the 911 call centre pending an investigation into his alleged misconduct. Between abusive callers, crank callers, and non-emergency timewasting callers, Joe’s car wreck of a life — oh yeah, his wife’s left him and taken the kid, too — finds temporary sharp focus when a kidnapped woman calls without the knowledge of her abductor. Joe throws himself into a race against time to find and save this woman before it’s too late.

The Guilty is a truly breathtaking thrill ride. A kind of Donnie Darko does ‘The Call’ (review here), The Guilty is a film of disturbing twists and turns both within Joe’s fractured mind and out there in the real world. We are taken on a journey through the morally ambiguous nature of all people without losing clear sight of objective morality, all in a non-preachy way.

This is somewhat dark film that may be a bit of a downer for some. Certainly, you’ll need to follow it up with something suitably light, such as four straight hours of back-to-back of Blue’s Clues and You, just to take the edge off it. But art, like life, ain’t always pretty.

4/5

© 2021 Bryan A. J. Parry

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HEATH LEDGER RIP #HeathLedgerRIP

This article was originally published the day after Heath Ledger died. It was my way of coping with a celebrity death that genuinely shook me. Fourteen years later, I repost it. Read the original editorial note below to understand what I was trying to do here. Enjoy.

Editorial note: A slightly surrealistic spoof of a tabloid article in the style of The Sun or somesuch. The paper is temporarily called The Fun.

–       Bryan A J Parry (23/1/08)

HEATH LEDGEND

ACTING HYPERSTAR HEATH LEDGER, HEREAFTER KNOWN VARIOUSLY AS HEATH LEDGER, HEATH, HEATH LEDGEND, OR “THE LEDGE”, HAS DIED. However, unlike in Heath’s blockbuster smash “The Brothers Grimm”, this isn’t all just a scam set up by conmen wiggling some duvet covers from the rafters and going “woo” a bit. He really is dead.

His brief but glamorous career saw him play such diverse roles as a knight in shining armour in the to be posthumously renamed “Heath Ledger’s A Knight’s Tale”. Whereas “Brokeback Cowboy” saw The Ledge playing the part of a gay cowboy who became crippled in a freak riding accident. And his last ever film, “The Dark Knight” (starring Batman, not Trevor McDonald as stated in yesterday’s The Fun), in an ironic twist of fate, has Ledgend play the part of the affable joker, a far cry from yesterday’s events, as nothing is less funny than dying. Life imitating art? No.

“The Dark Knight” will be on general release on pirate in the Spring. Turn to page 8 for your first six, free Heath Ledgend-shaped Bat-tokens.

The world of celebritydom was devastated.

Deranged racist Mel Gibson took a moment to reflect amid his hectic schedule of evangelising to say something decent for a change.

“As an Australian [and white], it is painful to hear of the death of a brother [and fellow milk-skin]. My thoughts and prayers, and the thoughts and prayers of my wife, my children, my church, and my fans are with him”.

Gibson, 52, went on to say how he is considering the viability of a bioflick based loosely around Heath Ledgend’s life.

“It will probably have him [ = Heath “The Legend” Ledgend] reprising his role as William Thatcher from ‘A Knight’s Tale’, but twisted and enraged by the death of his brother in my civil war masterpiece ‘The Patriot’. It’s probably gonna be necessary to computer animate it, and I’ve been talking to Dreamworks about this”. When asked if having a dead man star in his own production was even possible, Gibson shrugged his shoulders. “Tupac manages it”, he said.

“Why has God taken one of our finest actors from us? The Jews!!” Gibson added, in a moment of rare, frothy-mouthed passion, it has been alleged. Gibson was unfortunately unable to confirm or deny the rumoured outburst of rabidity as he was on a rally at the time, we assume.

Bruce Wallaby, producer of Home and Away in the 80s, recalls his memory of the late Heath: “I remember seeing this scrawny, blonde, mop-haired kid on the set one day. Thought it was some local kid trying to catch a glimpse of his idols. So I called security”. Only later on that evening, when Ledger had been released from jail, did Wallaby realise he’d seen actor legend-in-the-making, Heath Ledgend.  

“I’m deeply saddened. In Leith Hedger Britain has lost one of her finest daughters”, said Secretary for State, Jacqui Smith MP.

The PM was equally moved, saying: “Little Larry was only three years old. My deepest thoughts go out to his family at this time”.

The Fun newspaper urges all readers to fill in the coupon below with your name and address to support our “Legends Never Die” campaign where we petition the PM to put his money where his mouth is – not literally – and officially change Heath Ledger’s name by Deed Poll to “Heath Ledgend”. It’s what Heath would have wanted.

In other news, Heath Ledgend’s “Brothers Grimm” co-star Matt Damon was fined for speeding. He has accrued three Hollywood points.

© 2008, 2022 Bryan A. J. Parry

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Covid-19 Therapy Blog 3: Mask Mandates II #COVID19 #COVID19THERAPYBLOG #LIBERTARIANISM

This series of posts might serve as a bit of therapy for me and help me work stuff out.

Me, December 2021

Introduction to this series of posts
Link to all posts in this series

Introduction

In my first post on this Covid-19 Therapy Blog, I talked about my Libertarian instincts and why I think mask-wearing should be a personal choice, not something mandated by the State. Here I explore this a bit more (in this short* post).

For your own good?

We let people engage in all sorts of risky behaviour, even behaviour that can harm others. For example, we don’t enforce mask-wearing for those who have a cold or other sicknesses, nor in my opinion should we.

But okay, let’s say for argument’s sake that this virus is sufficiently lethal that we needed to be told to mask up at threat of criminal sanction, the question remains: for how long, and at what cost?

My daughter is three. She has never known a normal world. We used to laugh at the East Asian fetish for the mask. Let’s get sick, let’s build our immune system! That’s what we used to say. But yes, let’s look after our vulnerable so they are not at undue risk (by keeping them at home, for example). This is the way it always was: humane, free, but responsible.

We also used to scorn the niqab and other garments which veil a person’s face and take away their humanity. Yet now those who don’t mask up are seen as scum. Worse, they will be fined or arrested.

My daughter

What effect will it have on my daughter not growing up seeing people’s faces? This thing has gone on for two years. Two years is nothing. But for my daughter, two years is her whole world. I’m thirty-seven. It’s no exaggeration to say that her last two years are equal to my last thirty-six; it’s all she’s ever known. I fear for my beautiful girl and what this normalising of not seeing people’s faces, what this fetishisation for a lack of germs, is doing to her.

*My personal definition of “short” is less than 300 words, maximum; more than that, and a blog posts starts to feel like an essay.

**The Wikipedia page on Libertarianism which I linked you to says this: Libertarianism is a political philosophy that upholds liberty as a core principle. Libertarians seek to maximize autonomy and political freedom, emphasizing free association, freedom of choice, individualism and voluntary association.

© 2021-2022 Bryan A. J. Parry

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Film Review “A Classic Horror Story” (2021) #NetflixReview #150WordReview

Should be called A Classic Horror Story Medley

Strangers carpooling together across Italy get stranded in the woods and stalked by an evil presence and must fight tooth and nail to get out in one piece. As one of our characters remarks, “It’s like the set-up of a classic horror movie.”

A Classic Horror Movie, ironically, won’t go down as a classic horror movie. Indeed, it doesn’t even have the storyline of a classic horror movie. It does feel eerily familiar, however, with hints of Evil DeadSaw, and Cabin in the Woods thrown in. The spooky house in the woods (another classic horror trope) was well-designed and very unsettling. What the movie sometimes lacks in acting it makes up for in atmos.

A suspenseful and gruesome flick with a wonderful post-credits sequence which is just perfect. However, it thinks it’s a bit cleverer than it actually is. Should be called A Classic Horror Story Medley.

3/5

© 2021-2022 Bryan A. J. Parry

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